J.S. Bach (1685–1750) Mass in B Minor, BWV 232 Recorded at the First Presbytarian Church of Bethlehem in May 1997 on the Dorian Label Disc 1 Kyrie Chorus Kyrie eleison! Lord, have mercy! Duet (Sopranos I and II) Christe eleison! Christ, have mercy! Chorus Kyrie eleison! Lord, have mercy! Gloria Chorus Gloria in excelsis Deo! Glory to God in the highest! Et in terra, pax hominibus bonae voluntatis. On earth, peace to those whom He loves. Aria (Soprano) Laudamus te, benedicimus te, adoramus te, We praise you, we bless you, we worship you, glorificamus te. we glorify you. Chorus Gratias agimus tibi propter magnam gloriam tuam. We give you thanks because of your great glory. Duet (Soprano and Tenor) Domine Deus, Rex coelestis, Deus Pater omnipotens! Lord God, heavenly King, God the Almighty Father. Domini Fili unigenite, Jesu Christe altissime, O Lord, the only begotten Son, Jesus Christ the Highest, Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Chorus Qui tollis peccata mundi, miserere nobis, suscipe You take away the sin of the world: Have deprecationem nostram. mercy on us, receive our prayer. Aria (Alto) Qui sedes ad dextram Patris, miserere nobis. You sit at the right hand of the Father; Have mercy on us. Aria (Bass) Quoniam tu solus sanctus, tu solus Dominus, For You alone are holy, you alone are the Lord, tu solus altissimus, Jesu Christe. You alone are the highest, Jesus Christ. Chorus Cum Sancto Spiritu in gloria Dei Patris. With the Holy Spirit, in the glory of God the Father. Amen. Amen. Disc 2 Credo Chorus Credo in unum Deum. I believe in one God. Chorus Patrem omnipotentem factorem coeli et terrae, The Almighty Father, maker of heaven and earth, visibilium omnium et invisibilium. and of all that is, visible and invisible. Credo Duet (Soprano and Alto) Et in unum Dominum Jesum Christum, And (I believe) in one Lord Jesus Christ, Filium Dei unigenitum, et ex Patre natum the only Son of God, begotten of the Father ante omnia saecula, Deum de Deo, before all worlds, God from God, lumen de lumine, Deum Verum de Deo Vero, light from light, true God from true God; genitum, non factum, consubstantialem begotten not made; of the one Being with the Patri, per quem omnia facta sunt. Father, through whom all things were made. Qui propter nos homines et propter nostram Who for us humans and for our salutem descendit de coelis. salvation came down from heaven. Chorus Et incarnatus est de Spiritu Sancto ex Maria And became incarnate by the Holy Spirit from the Virgine et homo factus est. Virgin Mary, and became a human being. Chorus Crucifixus etiam pro nobis sub Pontio Pilato, He was also crucified for us under Pontius passus et sepultus est. Pilate; he suffered death and was buried. Chorus Et resurrexit tertia die secundum scripturas, And he rose on the third day according to the scriptures, et ascendit in coelum, sedet ad dextram and ascended into heaven and sits on the right hand Dei Patris, et iterum venturus est cum of God the Father, and will come again with gloria judicare vivos et mortuos; cujus glory to judge the living and the dead; His kingdom regni non erit finis. will have no end. Aria (Bass) Et in Spiritum Sanctum, Dominum et vivificantem And [I believe] in the Holy Spirit, Lord and lifegiver, qui ex Patre Filioque procedit, qui cum Patre who proceeds from the Father and the Son, who together et Filio simul adoratur et conglorificatur, with the Father and the Son is worshiped and glorified, qui locutus est per Prophetas. Et unam who has spoken by the Prophets. And [I believe] in one sanctam Catholicam et Apostolicam Ecclesiam. holy, Catholic, and Apostolic Church. Chorus Confiteor unum baptisma in remissionem I acknowledge one baptism for the forgiveness peccatorum: et expecto resurrectionem of sins, and I look to the resurrection mortuorum, et vitam venturi saeculi. of the dead, and the life of the world to come. Amen. Amen. Sanctus Chorus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth, Holy, holy, holy Lord, God of hosts, pleni sunt coeli et terra gloria ejus. heaven and earth are full of his glory. Chorus Osanna in excelsis! Hosanna in the highest! Aria (Tenor) Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Chorus Osanna in excelsis! Hosanna in the highest! Agnus Dei Aria (Alto) Agnus Dei, qui tollis peccata mundi, Lamb of God, that takes away the sins of the world, miserere nobis have mercy on us. Chorus Dona nobis pacem. Give us peace. Choir, Orchestra & Soloists – 1997 Recording Greg Funfgeld, Artistic Director & Conductor The Marjorie Wright Miller Memorial Chair The Bach Choir of Bethlehem Bach Festival Orchestra Soloists * * * * * * Indicates instrumental soloist Notes on the Program Mass in B Minor, BWV 232 The Credo is no less structurally organized. It is set in a palindromic structure The Mass in B Minor began as Bach’s attempt to impress the new ruler of of 2 choruses + 1 solo + 3 choruses + 1 solo + 2 choruses. The “Credo in Saxony and ended as a work meant to impress a distant posterity with a unum Deum” is constructed with a subject based on a Saxon variant of a grand summary of his vocal output. Arguably, in this work Bach built the Gregorian chant found in a Lutheran hymn book and sets it in long notes expectations of appreciation for his craft, celebration of his oeuvre, and pious that build, in the words of George Stauffer, to a “dense web of polyphony” reverence that underpins The Bach Choir of Bethlehem’s May festival. reminiscent of the Renaissance composer Palestrina. This double archaicism hearkens back to the ancient roots of this statement of belief and the long, The story of the Mass begins with the death of August the Strong, Saxon loud tones of each statement’s entrance suggest a chorus of people through- Elector and King of Poland in 1733. During a three-month period of out the ages who have sung those notes with conviction. One of the most mourning, public performance was banned and Bach was free to pursue his interesting parts of the Credo complex is the delicate writing for chorus and own projects. With the death of a ruler, there was often a shake-up at court violin in “Et incarnatus,” which is the structural center of the Credo and gives that allowed for opportunities to be appointed to court and Bach submitted particular attention to the central tenant of the Christian faith that God was this work as a portfolio to the new King and Elector. The Elector of Saxony made human; this movement was the last portion, which Bach wrote in 1749 was Catholic, and so Bach set the words of the Kyrie and Gloria portions of in the year before his death. the Latin mass. Unlike his previous efforts in church music, this one completely exploded the bounds of music-for-use that had been the bulk of his profes- The final movements rework some secular cantata movements into sacred sional life. At an hour for these first two mass movements, it was too long to ones. The grand double chorus Osanna with trumpet and timpani turns lauds be functional in the context of a service. Instead, it demonstrated his ability to a Saxon King from “Preise dein Glücke, gesegnetes Sachsen” (Praise your to write in a variety of styles for a large orchestra and chorus. The structure good Fortune, blessed Saxon) BWV 215 to the Palm Sunday Hosannas for of the Gloria suggests it is a showcase piece. Between the five choral move- King Jesus (the textual origin of the Osanna movement). The source for the ments, there are four solo or duet movements for each of the five soloists earthy and melancholy Agnus Dei is a lost wedding cantata, one that Bach who are paired with different obbligato instruments: violin with the second also reworked in his Ascension Oratorio, BWV 11. The final “Dona nobis soprano, flute with the soprano and tenor duet, oboe d’amore with alto, and pacem” recapitulates the movement “Gratias animus tibi” from the Gloria horn with bass. His attempt at impressing the new King worked, and in 1736 complex. The Gloria’s hymn of praise ascends to heaven with stretto, or he held the title Court Capellmeister without having to give up his position fugal entrances that interrupt one another. as Cantor in Leipzig. The Bach Choir of Bethlehem achieved the American premiere of the Mass He picked up the work again in 1748, just as he was completing The Art in 1900. That the choir continues to perform the Mass in a twice yearly ritual of Fugue, which like the Mass, had neither an immediate commission nor in a festival dedicated to Bach’s works suggests that Bach also succeeded in Soloists premiere planned. The first record of a performance of the Mass was when reaching a group of people far away and in a distant time who would appre- Bach’s son Carl Philip Emmanuel organized a performance of the Credo ciate the best work he had to offer. movements in 1754. Instead, Bach seems to have been archiving his best music in, what was for him, a timeless genre and a language still understood – Katherine Kaiser, Ph.D. © 2019 across Europe. At least 9 of 27 movements are parodies or reworkings of Katherine is a member of The Bach Choir of Bethlehem and teaches previous cantatas or service music, the oldest of which, the chromatic coursework in music and theatre history, theory, and performance at weeping gestures in “Crucifixus” over a passacaglia (repeating bassline) Muhlenberg College and at Northampton Community College.